【 – 节日作文】
篇一:《儿子与情人》
甚至我认为主人公保罗的“恋母”情结也算不得值得拿来大讲特讲的卖点，这不是一本讲母子之间乱伦感情的书，因为这里没有什么太不正常的感情，在这样的时代这样的家庭成长起来的孩子能拥有怎样“正常”的感情呢？苛求保罗和他的母亲表现得更像一对“正常”的母子，这在我看来未免过于“高尚”。所以撇开这些虽然时髦但是不相干的话题吧，《儿子和情人》讲的只是一个悲剧，令人有切肤之痛的悲剧故事。 《儿子与情人》是劳伦斯带有自传性质的一部小说，写得尤为动人。出生相对优越受到良好教育的莫太太爱上了一贫如洗文化水平低下却英俊潇洒的矿工莫莱尔，于是义无反顾地嫁给他。短暂的蜜月迅速消磨掉了两人之间的浓情蜜意，生活的艰辛和文化的差异以及生活习惯的不同，使得夫妻之间爆发了激烈的冲突。当孩子陆续出生之后，莫太太把所有的爱都转移到自己的孩子身上，希望他们能成长为出类拔萃的人才，摆脱掉他们父亲身为矿工的命运。她深爱自己的大儿子威廉，对他寄托了尤其深的感情。威廉不负厚望，成功挤入伦敦的上流社会，却因为追求不属于自己阶层的女子而辛苦奔波赚钱以图完婚，最终病死他乡。威廉的死使莫太太一蹶不振，而二儿子的重病使她从死者的悲痛中醒来，重新面对生者的世界，因为小儿子亚瑟调皮捣蛋不听教导，莫太太干脆把自己所有的注意力和期望转移到保罗身上。而保罗的恋情和婚姻大事也成为母亲最为关注的问题。《儿子与情人》的情节主线就是威廉的成长恋爱与死亡、保罗和他的前后两个情人米雪儿和克拉拉，还有莫太太的生命之路。
但是如果把《儿子与情人》理解为儿子、母亲与情人的三角关系，这也并不准确。不论是威廉还是保罗，他们悲剧性的恋爱，最重要的原因并不是母亲的意见，而是他们成长于这个时代这个家庭，他们悲剧性的个性所然。劳伦斯在这部小说里讨论了四种悲剧性的两性关系：莫莱尔夫妇、威廉与吉普、保罗与米雪儿、保罗与克拉拉。这里有并不门当户对的爱情，如莫莱尔夫妇和威廉的爱情，也有在精神与肉体之间迷茫的保罗的爱情。你可以说莫莱尔夫妇失败的婚姻埋下了威廉和保罗悲剧命运的种子，但这也不是所有的理由，不能不看到这个故事发生的背景是十九世纪末城市工业化水平提高，城乡差距加大，贫富之间的阶层沟壑越来越深，人们在物质与精神之间越发失去方向""
莫莱尔夫妇只是在这个社会转型大背景下的一个小小的家庭样本，不过他们灾难性的家庭生活使得这个悲剧的内涵又得到了延伸和深化。威廉的死，其实是作为一个来自乡下的年轻人试图进入上流社会的失败挑战，他挣扎于上流社会的“交际花”吉普对于财富的贪婪和精神上的匮乏给他带来的巨大陷阱；但是他向上流社会努力的愿望得到了全家人的支持和鼓励，也是他的母亲莫太太的期待和希望所在。而保罗虽然离开了家乡来到了诺丁汉的工厂，但是他仍向往着米雪儿所代表的农场乡村还有虔诚纯净的精神生活，但是米雪儿所要的那种“崇高”的富有宗教意味的狂热的精神生活虽然对保罗有吸引力却同时又压得他喘不过气来，他渴望着肉体的“生命之火”。父母失败的爱情对于保罗来说是切肤之痛，在他的成长过程中，没有一个成功的男性榜样，他恨自己的父亲对母亲的不尊重和和不体贴，却也不知道一个优秀的男人应该怎样面对女人去爱。保罗不是没有爱的男人，但他只会对母亲的爱，却不会对女人的爱，他分不清这两种爱的区别。诚然保罗说过，如果没有母亲的反对，他会娶米雪儿，可是他如果真的娶了米雪儿他会幸福么？莫太太反对米雪儿和保罗在一起，一方面固然是她的自私，害怕米雪儿夺去儿子所有的心，另一方面何尝不是她对于儿子的了解，米雪儿是保罗的精神伴侣，但也是不可承受的精神压力，保罗追求的是精神和肉体的统一的爱情，而米雪儿却过于超然于普通的物质生活之外了。在莫太太死后，米雪儿和保罗有过结婚的机会，可是他们还是最终没有能在一起，或者正说明了这一点。
保罗和米雪儿的爱情，看起来像一场战争。在他们分手的时候，米雪儿曾经控诉道，这七年的感情就是你争我斗。是啊，米雪儿一直想要征服保罗，保罗又何尝不是如此。当爱情变成了征服者的游戏，两败俱伤的结局其实一点都不让人奇怪。
《儿子与情人》最让人压抑也最让人震动的，对我来说，其实是莫莱尔夫妇一生都不幸福的婚姻生活，还有由此产生的孩子们对于童年的悲惨记忆，以及在这种压抑不快乐的环境中成长起来的孩子们的性格。孩子们都痛恨自己的父亲，男孩子们希望尽快长大，好和父亲打上一仗来捍卫自己的母亲；唯一的女孩子安妮小时候就是个假小子，好在长大之后找到了真正爱自己的人，拥有了一个温暖的家庭。我一直在想，如果这个故事不是以儿子为主线，而是写女孩子的成长心路又会是怎样呢？在这样不幸福的婚姻阴影下成
长的女孩，对自己的婚姻爱情会有怎样的憧憬与幻想？在这样一个时代里成长起来的女孩也应该有自己的“城市梦”吧！她会怎样面对她生命里出现的那些男人？总觉得安妮这个角色过于简单了些，我想如果换作女儿成为故事的主角，大概也会是一部很有意思和内容的小说呢！
《儿子与情人》是劳伦斯在一次世界大战之前最优秀的作品之一。戴维o赫伯特o劳伦斯是一位天才的作家，他的作品洞察人类生命中最深层的领地—人的心理，生动描述人类诸如挣扎、痛苦、危机、欢娱等种种情感和感受。他致力于开启人类心深处的“黑匣子”，穿透意识的表面，触及隐藏的血的关联“，从而揭示原型的自我。
在这部小说里，他对女性的心理进行了大胆、透彻的探索，其小说中的女性也因此体现出更为强烈的审美情趣和艺术表现力，细腻准确地反映出劳伦斯的写作主题。
戴维o赫伯特o劳伦斯用精神分析的方法对《儿子与情人》中的三种女性爱情心理模式进行描述，这三种模式将成为此论文的三部分。第一部分—精神模式,，此模式对本能的欲望进行抵制和轻视。《儿子与情人》中的米莉亚姆就是这个模式的典型代表。第二部分——肉欲模式，这种心理会放纵她们自己个人的本能的欲望而又忽视了灵魂的交流。这部小说中的克拉拉就是一个典型的例子。第三部分——情节模式，这种模式对某个东西或某一种感情显示出一种极端的态度。莫瑞尔太太就这样的一个对家庭和儿子们有极端的占有欲的女人。
戴维o赫伯特o劳伦斯通过对《儿子与情人》中的三种女性爱情心理模式的分析，阐述其局限性，揭示健康自然的女性爱情心理，对于成就完整的生命及追求中女性的成功有重要作用。[1]
Paul seems to be in contradiction of himself and is always trying to find some excuse, or perhaps he does not yet know what he truly wants. But he is constantly going back and forth between first proclaiming his wish to be married, and then doing a complete 360 and
suddenly railing about how he could never be wed and does not wish to be tied down to one woman, and will never marry. He has used this against both Mariam and Clara. First when he was with Mariam he would try and tell her that they could not continue on together because he wished to marry, but they could not marry if they could not be physical with each other. So when Maraim submitted to him and they grew closer, he drew away from her and began to say suddenly he could not be with her because he felt to tied down with her and could not marry and would never marry. So he ended up with Clara because she was safe, because she is already married but separated from her husband, but then as they began to grow closer together, he begins turning the tables around again, and tells her that he wants to marry, but she does not want to marry him because she refuses to divorce from her husband. It seems that he is stuck between both his fear of commitment, as well as his not wanting to be truly alone. Whenever he begins to get close to a woman, or when things begin to become serious, he suddenly tries to find some excuse and gets restless and upset within the relationship and draws away, but at the same time, he can never bring himself to just completely break it off. So he tries to keep it going as long as he can while still keeping at bay from him.
Sons and Lovers was the first modern portrayal of a phenomenon that later, thanks to Freud, became easily recognizable as the Oedipus complex. Never was a son more indentured to his mother's love and full of hatred for his father than Paul Morel, D.H. Lawrence's young
protagonist. Never, that is, except perhaps Lawrence himself. In his 1913 novel he grappled with the discordant loves that haunted him all his life–for his spiritual childhood sweetheart, here called Miriam, and for his mother, whom he transformed into Mrs. Morel. It is, by
Lawrence's own account, a book aimed at depicting this woman's grasp: "as her sons grow up she selects them as lovers–first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother–urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives."
Of course, Mrs. Morel takes neither of her two elder sons (the first of whom dies early, which further intensifies her grip on Paul) as a literal lover, but nonetheless her psychological snare is immense. She loathes Paul's Miriam from the start, understanding that the girl's deep love of her son will oust her: "She's not like an ordinary woman, who can leave me my share in him. She wants to absorb him." Meanwhile, Paul plays his part with equal fervor, incapable of committing himself in either direction: "Why did his mother sit at home and suffer?… And why did he hate Miriam, and feel so cruel towards her, at the thought of his mother. If Miriam caused his mother suffering, then he hated her–and he easily hated her." Soon thereafter he even confesses to his mother: "I really don't love her. I talk to her, but I want to come home to you."
The result of all this is that Paul throws Miriam over for a married suffragette, Clara Dawes, who fulfills the sexual component of his ascent to manhood but leaves him, as ever, without a complete relationship to challenge his love for his mother. As Paul voyages from the working-class mining world to the spheres of commerce and art (he has fair success as a
painter), he accepts that his own achievements must be equally his mother's. "There was so much to come out of him. Life for her was rich with promise. She was to see herself fulfilled… All his work was hers."
The cycles of Paul's relationships with these three women are terrifying at times, and Lawrence does nothing to dim their intensity. Nor does he shirk in his vivid, sensuous
descriptions of the landscape that offers up its blossoms and beasts and "shimmeriness" to Paul's sensitive spirit. Sons and Lovers lays fully bare the souls of men and earth. Few books tell such whole, complicated truths about the permutations of love as resolutely without resolution. It's nothing short of searing to be brushed by humanity in this manner. Sons and Lovers
Plot introduction
The third published novel of D.H. Lawrence, taken by many to be his earliest masterpiece tells the story of Paul Morel, a young man and a budding artist. This autobiographical novel is a brilliant evocation of life in a working class mining community. The original 1913 edition was heavily edited by Edward Garnett who removed eighty passages, roughly a tenth of the text. Despite this the novel is dedicated to Garnett. It was not until the 1992 Cambridge University Press edition that the missing text was restored.
[edit] Explanation of the novel's title
Lawrence rewrote the work four times until he was happy with it. Although before publication the work was usually called Paul Morel, Lawrence finally settled on Sons and Lovers. Just as this changed title makes the work less focused on a central character, many of the latter additions broadened the scope of the work thereby making the work less autobiographical. While some of the edits by Garnett were on the grounds of propriety or style, others would once more narrow the emphasis back upon Paul.
[edit] Plot summary
Part I:
The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meager salary in a rented house. The couple fight and drift apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons, beginning with the oldest, William.
As a boy, William is so attached to his mother that he doesn't enjoy the fair without her. As he grows older, he defends her against his father's occasional violence. Eventually, he leaves home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl's superficiality. He dies, and Mrs. Morel is heartbroken, but when Paul catches pneumonia, she rediscovers her love for her second son.
Part II:
Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relationship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books, but Paul resists, in part because his mother looks down on her. At work, Paul meets Clara Dawes, who has separated from her husband, Baxter.
篇二:《开心一刻笑话精品集》
开心一刻
群年终工作总结：
2012年还有2月就完蛋了,不知不觉和大家群居了一年，感觉很好，在即将走过2012年迎来崭新的2013年之际.作为本群一员，现在把一年的工作情况和今后打算做如下汇报： 在一年里，我们紧密扎根在QQ群里，团结在群主周围，高举“有空必来，有来必言，有言必留，有留必看”理论的伟大旗帜，认真贯彻落实“雁过留声，人过留言，鸡过留蛋，鸭过留毛”的要求，坚持“知无不言、言无不尽”的指导思想，弘扬“一不怕手酸，二不怕加班，三不怕头晕，四不怕眼花”的大无畏精神，把“保持联系，经常骚扰”作为振兴本群的第一要务！ 经过努力，从根本上改变了“几天来一趟，想到才来上，来了不说话，逛逛就走人”的方式！坚持“四有”原则，即“有组织，有预谋，有把握，有成绩”。坚持做“四有”群友，即:“留言有新思想，灌水有新思路，吹牛有新突破，抬杠有新局面”！相互促进，共同发展，从而使咱群走上可持续发展的伟大道路，同时坚决贯彻了2012年七大新观念:
1、钱不是问题，问题是没钱。
2、水能载舟，亦能煮粥。
3、一山不能容二虎，除非一公和一母。
4、火可以试金，金可以试女人，女人可以试男人。
5、喝醉了我谁也不服，我就扶墙。
6、就像一只趴在玻璃上的苍蝇，前途光明，出路没有。
7、问世间情为何物？都是一物降一物。
在过去的一年，虽然我很少发言，但为了表示我的忠诚，在新的2013年，特向群主保证：群主的脾气就是我们的福气；群主的要求就是我们的追求；群主的鼓励就是我们的动力；群主的想法就是我们的做法；群主的酒量就是我们的胆量；群主的表情就是我们的心情；群主的嗜好就是我们的爱好；群主的意向就是我们的方向；群主的小蜜就是我们的秘密；群主的情人就是我们的亲人。
同时，我还要做到：
1.群主没来，我先来，看看谁坐主席台；
2.群主没讲，我先讲，看看话筒响不响；
3.群主说话，我鼓掌，带动下面一片响；
4.群主吃饭，我先尝，看看饭菜凉不凉；
5.群主喝酒，我来挡，誓把生命献给党；
6.群主睡觉，我站岗，跟谁睡觉我不讲!
今年NBA季后赛趋势我已经发现了，第一轮动物什么的死光光，就好像灰熊、小牛、公牛、老鹰什么的，第二第三轮人类死玩，比如湖人、76人、凯尔特人、步行者！最后剩下来的，靠！大自然的决战，雷霆打热火。总结：还是大自然的力量最强大 ！
丈夫听说妻子有外遇，设计报复．一夜乘妻熟睡，在妻乳头擦上浓缩鼠药。 第二天夜，
妻迟归，夫问何故，妻悲愤交加地说：“我们领导被人下毒身亡了！”夫问：“知道是谁干的吗？”妻说：“凶手挺狡猾的，通过什么途径投的毒连警察都没法查出来，不过已有线索了，正在调查三鹿、圣元奶粉。” 夫问：“为啥？＂ 妻说：＂领导咽气时曾说：＂天那！世上还有放心奶吗？
贪腐特色受贿笑话. “两会”修改新《婚姻法》，打字员一疏忽，把“一夫一妻”打成了“一天一妻”。大会审议时，领导干部普遍认为“就这一条改得好，与时俱进”，但有代表认为有暇疵。甲代表：“好是好，就怕货源保不了。”乙代表：“好是好，就怕时间有点少。”女代表：“好是好，就怕男同胞身体受不了。”法律界代表：“好是好，就是孩子父亲不好找！”
转载共享一下，大家好好学习，奋发图强！
一、赵四小姐从十六岁开始跟张学良。跟一年，属奸情；跟三年，算偷情；跟六十年，便成为千古爱情！ 此事的重要启示：很多事情不看做不做，而看你做多久。 二、民国初名妓小凤仙，如果跟了民工，就属于扫黄对象；她跟了蔡锷，则千古留芳了；倘若她跟了孙中山，那便可能成为国母。 此事的重要启示：不在于你干什么，而看你跟谁干。
三、女浴室起火，里面人乱作一团，赤裸身体往外跑，只见大街上白花花一大群，一老者大喊“快捂住”，众裸女突然醒悟，但身上要紧部位有三处，手忙 脚乱捂不过来，不知所措。这时老者又大喊：“捂脸就行，下面都一样！” 此事的重要启示：在特殊情况下抓工作不可能面面俱到，要抓住重点。
四、少妇报案：“我把钱放在胸衣内，在拥挤的地铁内被一帅哥偷走了…”警察纳闷：“这么敏感的地方你就没觉察到？”少妇红着脸答：“谁能想到他是摸钱呢？” 此事的重要启示：让客户的钱在愉快体验中不知不觉地被摸走，是商业模式的最高境界。
五、组织几个人收保护费，那是黑社会。朱元障组织几百万人抢下王位，就是伟大的皇帝。武则天睡了公公睡儿子 ，虽属乱伦，但乱的够大，故成为女皇。 此事的重要启示：不在你干没干坏事，而在于干多大！
六、一公司在小便池上贴上条：“往前一小步, 文明一大步”，结果地上仍有许多尿渍。后来公司认真吸取教训, 重新设计成：“尿不到池里说明你短；尿到池外说明你软”，结果地上比以前干净许多。 此事的重要启示：给客户的投资建议一定要具体，确切，中要害。
七、某日,女秘书神色凝重地说：王总,我怀孕了。王继续低头看文件,然后淡淡一笑说:我早结扎了。 女秘书楞了一会媚笑道:我和您开玩笑呢! 王抬起头看了她一眼，喝了口茶说:我也是。 此事的重要启示：在江湖上混的人,遇事不要慌,先让子弹飞一会 。
八、男子去提亲，女方家长：请自我介绍。 A说：我有一千万。 B说：我有一栋豪宅，价值两千万。 家长很满意。就问C，你家有什么？ C答：我什么都没有，只有一个孩子，在你女儿肚子里。 AB无语，走了。 此事的重要启示：核心竞争力不是钱和房子，是在关键的岗位有自已的人。
九、［中央党校教学案例］一男干部怕吃苦不愿援藏，谎称眼睛突然失明。领导闻听，出面让一美女脱光站在他面前，问“看见了吗” ？ 答：看不见。 领导飞起一脚给他臀部：狗日的，老二都直了还看不见？收拾行李，明天进藏。 此事的重要启示：1.人性化才能真
正了解人。2.组织比个人高明。3.本能会出卖你。4.组织面前只能软，不能硬。
十、某重大项目完工后尚有余款，省委常委会开会研究是用来改善中小学办学条件， 还是改善监狱的环境，意见一直不统一。最后一老常委一语定乾坤：这辈子你们这班常委还有机会进中小学么？顿时沉默，有的擦汗，有的低头喝茶。随后很快意见达成一 致：改善监狱环境。
浙江商界巨子王均瑶英年早逝，其妻携19亿存款改嫁王生前的司机。 该司机幸福之时感慨道：“以前，我以为自己是在为老板打工，现在我才明白老板一直在为我打工！” 残酷的事实说明：活的更久，远比高富帅重要！ 请同志们千万要加强锻炼，注意身体健康，不要定谁给谁打工。天冷了，大家注意添衣保暖。
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